>Date: Mon, 16 Feb 1998 17:53:53 -0600 >To: "Jan Lindahl" <[EMAIL PROTECTED]> >From: "Charles L. Dischinger" <[EMAIL PROTECTED]> >Subject: Less than optimal light > >At 08:46 PM 2/16/98 +0100, you wrote: >>I think the new images added to the list today was some of the best so >>far. That foggy shot from Marias Pass by Charles L. Dischinger was one >>of the must unusual I've ever seen. Taken in a situation when I most >>centainly would have stayed indoors... >> >>Jan Lindahl >> >> >Thanks for the compliment Jan. The overall trip to Essex this year (my fourth) on many terms would have been a dismal trip and experience. According to the individuals that have been there every year for the seventeen or eighteen years the Alta-Mont weekend has been held, stated that it was the worse year weather-wise they have had. To top that, the train frequency was rather poor for some unknown reason. > >After five days of rain, almost constant cloud cover, light rain, light dusting of snow overnight, rain, fog, light rain, overcast skies, and light misting rain, I had shot only twelve rolls of film. I was beginning to fear that my par folio of Fuji stock was going to drop if I didn't start shooting more film. Did I mention that we experienced a lot of light misting rain? > >Most of those attending headed for the east side of the mountains in search of sun light. But when Bill Siegel indicated that he would like to go to Essex with me last year, I had informed him that I wanted to shoot the west side of the pass and if the weather was gloomy so much the better. I wanted to go for the mood shot. I like to show the railroads battling the elements. The resulting images have more character to them and therefore will stand out against the multitude of sunny day images. So the stage was set. > >And while the weather really did play havoc with the photo opportunities, limiting us more than the rather sparse train frequency, when it did come together, it came together in a big way. Out of the twelve rolls I shot in the five days, I got about eighteen to twenty four really good killer shots. A very high percentage, considering I can easily fire away a dozen or more shots between the two camera bodies I use with each drive-by shooting. > >Something to remember is that a good photographer can take good pictures under almost any circumstance. Being able to produce a good photograph under the worse situation is what separates a professional photographer from a want-a-be. When you are getting paid hundreds of dollars a day to produce, and you don't produce anything, your reputation will go down the tubes rather quickly along with the return phone calls requesting your services. So when you are out photographing trains, especially along way from home, play up the elements, don't run from them. > >For a continuing topic of discussion, how do each of you play up the pitfall of shooting on cloudy overcast days? The topic of that killer light after a severe thunderstorm has been touched, but how do each of you approach trying to obtain a good shot under less than ideal condition? > >Charlie Charlie Dischinger
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